Today the BBC Trust has published its Licence Reviews of BBC One, BBC Two and BBC Four, setting out the role and purpose of the channels for the next five years. These form part of the Trust's regular reviews of all BBC services. As part of the process, we submit reports for each channel that analyse their performance against the Public Purposes and describe our strategy going forward. The BBC Trust also canvasses the views of licence fee payers and the wider industry. You can read the Trust's final conclusions here.

Today's announcements follow the publication of the Trust's interim findings in the summer, which strongly supported the direction of the channels and asked for more detailed plans in a few key areas. Since then, we have been working closely with the Trust, and the positive conclusions of today's report should be seen as an endorsement of the strength and ambition of our plans to deliver even greater quality and originality across our full range of programmes and content.

Overall, the Trust concludes that the BBC's TV portfolio is performing very strongly - on reach, quality and value for money measures, as well as playing a central role in delivery of the Public Purposes to audiences across the UK. The BBC's portfolio of television channels has increased both its reach and share over the past year, more than any other broadcaster. Our audiences tell us that BBC channels lead over other channels for their quality, originality and distinctiveness. Shows currently on-air like Strictly Come Dancing, The Trip, Getting On and Wallace and Gromit's World of Invention demonstrate this in practice. But there are a number of themes which are important to all of us.

Audiences continue to have a strong appetite for "fresh and new ideas" on television. This is a reflection of the TV industry more broadly - and expectations are rightly highest when it comes to the BBC. We will be taking the leading role in meeting audience expectations here by always aiming for the highest quality and distinctiveness.

The BBC's television portfolio is focusing on a number of areas:

    •    On BBC One, we will seek to bring even greater range and variety into peak, building on a very strong base - programmes like Sherlock, Bang Goes the Theory, Five Daughters and Outnumbered to name but a few.

    •    BBC Two will implement its plans in factual, drama and comedy to reaffirm its position as the mainstream, highly distinctive alternative to BBC One. Shows like Wonders of the Solar System, The Normans and Renaissance Revolution, plus new dramas like The Shadow Line, and comedies such as Whites and Rev are strong examples of how it will do this.

    •    BBC Four will seek to achieve even greater impact and credit for high quality, highly original pieces like the First Men in The Moon, The Secret Life of the National Grid and Michael Wood's Story of England, and the forthcoming series The Art of Germany.

    •    In Daytime we have already made great headway, and the Review acknowledges this and supports our plans for the future. We are introducing high quality current affairs and consumer journalism into the schedule with programmes like Rip Off Britain, Saints and Scroungers and Crimewatch Roadshow, alongside new dramas including Jimmy McGovern's Moving On and The Indian Doctor with Sanjeev Bhaskar. We will continue on this journey of refreshment to ensure our services offer the UK's most distinctive programming for daytime viewers.

    •    Across all of our programmes, we will seek to reflect the diversity of the UK's people, cultures, regions and communities back to our audiences, and work to provide value to all audience groups. The report reinforces the importance of our opt-out programming from the Nations and Regions - but challenges us to deliver even greater quality and impact for these programmes. 

I welcome the framework provided by the five year service licences for these channels, which sit alongside BBC Three's service licence agreed last year. They are an endorsement of our plans and creative ambitions for the next five years. Along with the certainty of an agreed licence fee settlement, they place our portfolio of television channels in a strong and positive position so that we can continue to produce the very best television services in the UK.

Jana Bennett is Director of BBC Vision

So, it's that time of year when we publish the annual WOCC figures and look keenly at where the 25% up for grabs has been carved out - how has the investment of the BBC's £250million budget in the WOCC been split between the indie sector and in-house productions? This year, the overall story is roughly the same as in the past couple of years, with indies winning 70% of the available business and in-house production securing 30%.

That isn't where the story ends though. Dig deeper and look at the volatility of figures in the genres: year on year we see differences in the battle for each genre. It's creative competition at its very best, with the entire sector - both indie and in-house - in healthy competition and ultimately delivering the best programmes for our audiences.

Think back to three years ago when we launched the WOCC. We were also talking about how quickly the audience was catching up with technology and using content in new ways, how we needed to stop thinking in terms of linear broadcasting and prepare for the world of digital television on demand. But, while the access to content and the technology may change exponentially, what will remain constant is the fact that the best creative ideas are going to be the key to success in this new world.

And that's exactly what we are seeing, year on year. When introducing the system of the WOCC, the BBC reinforced the need for a balanced ecology, making a firm commitment to in-house production and the independent sector through its guarantees, and introducing a window for direct competition. The WOCC's radical approach to getting the best ideas from both in-house and indie is working - both sectors still have much to play for. From whatever source, the best proposals have delivered the range and distinctiveness of programmes this year that is a testament to this heightened creativity, to "Putting Quality First".

I'm delighted that overall the indie sector is now delivering a total of 2,800 network hours with some real breakthrough shows in the shape of Small Island; Russell Howard's Good News; Michael McIntyre's Comedy Roadshow; Blood, Sweat and Luxuries, and The Day the Immigrants Left.

The BBC's raison d'etre is providing excellent programmes that audiences love, but what today's WOCC figures show is that there are broader benefits that stretch far into the creative industries. We know from the Deloitte report recently published that overall the BBC contributed at least £7.7billion to the UK economy in 2008/2009 - which generates at least two pounds of economic value for every pound of the licence fee.

WOCC plays its part in this and I am so pleased to see competition delivering the very best to our audiences. Now, let's see what happens next year!

Jana Bennett is Director, BBC Vision

Hard to believe, but at the beginning of the decade we didn't have any digital channels as viewers would recognise them today. We'd launched fledgling channels BBC Choice and BBC Knowledge but, editorially, they bore little resemblance to today's BBC Three and BBC Four. We weren't supporting the digital channels in a way that would help them become as loved as our terrestrial channels. And we hadn't yet launched either of our children's channels.

We decided to make them mixed genre, to distinguish them in the multi-channel world. As a result CBBC, CBeebies, BBC Four and BBC Three reflect the Reithian principles and audiences obviously appreciate this.

This year it was fantastic to see that 18.5 million 16-34 year olds tuned in to watch our Adult Season on BBC Three. These programmes explored what it means to be a young adult in Britain today and showed that this age group appreciate challenging innovative TV that offers them more than wall-to-wall reality.

BBC Four has had a record year too without compromising its mission to provide the very best cultural and arts television, while the pillars of BBC television's output, BBC One and BBC Two, remain creatively vital. BBC One really comes into its own at Christmas and a blockbuster schedule has become as much a part of the British family Christmas as turkey and all the trimmings.

And capping such a triumphant decade is, of course, the iPlayer. Because it's available on so many different platforms (it's just launched on Freesat, by the way), it's also bound to relieve the tension in any families with a potential to fight over the remote.

Meanwhile Freeview passed another milestone this week and is now in over 10 million British homes - an important achievement for the BBC and its partners in digitally enfranchising the population without the need for them to pay a subscription.

No doubt before the next decade is out the days when everyone watched non-HD broadcasts will also be a quaint memory...

For a fuller exploration of our record-breaking year it's worth visiting the BBC Press Office site or this article on the Broadcast website, but for now, no matter how you choose to mark the end of the year, and indeed the decade, I wish you and your friends and families a peaceful and relaxing Christmas.

I am pleased that this year BBC Television's commissioners, channel teams and programme makers have delivered one of our best ever holiday schedules. There's a cracking list of specials from Britain's best comedy talent from Catherine Tate and Victoria Wood to the Outnumbered family. We will all bid an emotional farewell to David Tennant in one of the most dramatic and spellbinding exits in Doctor Who history, and the much-loved children's book The Gruffalo comes to life on screen for the very first time. I am also looking forward to the Orson Welles season on BBC Four, and modern dance courtesy of the Ballet Boyz on BBC Three bringing us The Rite of Spring. I saw the filming in London's East End last month and I can promise viewers that BBC Three will bring new audiences to Stravinsky's wonderful ballet through this original interpretation.

There's also a whole host of drama and comedy, a celebration of food and a wide range of big family films, with the Incredibles one of the highlights on BBC One.

We have planned for the arts to take centre stage on BBC Two, with the Royal Shakespeare Company's acclaimed production of Hamlet with David Tennant demonstrating his wonderful range as an actor alongside Patrick Stewart - another one of Britain's finest. This production is a small miracle of planning. It was shot after the RSC production had ended, in a palatial but abandoned seminary in north London. When I saw the gravediggers' scene being filmed, the cast had gathered after getting time off from other plays, film and TV commitments in order to be reunited. So we will present the original cast and director of Hamlet so that an even wider audience can see it. The Private Life of a Christmas Masterpiece, also on BBC Two, celebrates another great work as we look at the Mystic Nativity by Botticelli. And this is to mention just a few highlights. More shows will be available in high definition than ever before - and remember, with BBC iPlayer there's no need to argue over the remote.

Happy Christmas!

I was there to give a speech in which I argued for the continued relevance of public service broadcasting in the digital age and suggested that the UK was faced with a watershed opportunity to decide the shape of broadcasting for the coming decades.

It was a fitting location. Both the LSE and the BBC are owned by the public and are there not to turn a profit, but to be of cultural value to their shareholders.

Questions ranged from how the BBC learns from other broadcasters to how we ensure that pronunciation is correct on our news bulletins. They came from new students through to LSE alumni now in their 80s.

The BBC is also an octogenarian and, if you believe some of our critics, ripe for retirement. But, as I pointed out last night, because the BBC has a great tradition in leading technological revolutions in broadcasting, from colour TV to the iPlayer, we have remained as relevant and valuable to the public today as we ever have been.

One of the many ways in which we can build on this value is by making our programme archive available to the public, finding ways to make full use of the new models - both commercial and non-commercial - that are being driven by advances in online technology.

The archive is a fabulously rich resource, tracing changes in Britain's class system, accents, landscape, architecture, social mores, race and gender politics.

During my speech I announced that we are moving ahead with the creation of an online catalogue which will be the first step in allowing people access to the archive, listing every programme we have broadcast to date and cross-referencing that schedule information with our internal programme database.

We aim to make this available by Christmas 2010 and then we will really go to work, collaborating with organisations and individuals to put flesh on the bones.

I hope that unlocking the BBC's archives will serve as a catalyst to increasing the size and richness of this country's cultural and creative commons. If it does, it could herald a new epoch in public service broadcasting.